The American Musical

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The American Musical A Literary Study within the Context of American Drama and American Theater with References to Selected American Musicals by Richard Rodgers, Oscar Hammerstein II, Arthur Laurents, Leonard Bernstein, Stephen Sondheim, and James Lapine von Marc Bauch Tectum Verlag Marburg 2003 ULB Darmstadt 16593664 IX Content PREFACE V ABOUT THE AUTHOR VII 1. INTRODUCTION '. 1 2. THE AMERICAN MUSICAL 5 2.1 COMMERCE, DEMOCRACY, AND THE AMERICAN MUSICAL 5 2.2 NEW HISTORICISM: THE AMERICAN MUSICAL AS A MIRROR OF REALITY 8 2.3 ASPECTS OF INTERTEXTUALITY IN THE AMERICAN MUSICAL 10 3. DEVELOPMENTS IN THE AMERICAN MUSICAL THEATER BETWEEN THE COLONIAL PERIOD AND WORLD WAR II 15 4. THEMES AND TOPICS OF THE AMERICAN MUSICAL IN THE ERA OF RODGERS AND HAMMERSTEIN..^ 27 4.1 THE AMERICAN MUSICAL IN THE 1940s 2? 4.1.1 An Overview of Some Selected Musicals from the 1940s 28 4.1.2 Kurt Weill and his Musicals 32 4.1.3 Rodgers and Hammerstein and their Musicals 34 4.2 THEMES AND TOPICS IN SOUTH PACIFIC 39 4.2.1 South Pacific: A Story of War 41 4.2.2 South Pacific: A Story of Racial Prejudices and National Differences.... 45 4.2.3 South Pacific: A Love Story 49 4.2.4 South Pacific and Tales of the South Pacific: Aspects of Intertextuality 61 5. THEMES AND TOPICS OF THE AMERICAN MUSICAL IN THE 1950S 67 5.1 THE AMERICAN MUSICAL IN THE 1950s 68 5.1.1 An Overview of Some Selected Musicals from the 1950s 68 5.1.2 The Development of American Dance and Musical Choreography after World War II 70 5.1.3 Leonard Bernstein and his Musicals 73 5.2 THEMES AND TOPICS IN WEST SIDE STORY 75 5.2.1 West Side Story: A Story about Minorities 77 5.2.2 West Side Story: A Story about American Society and the American Dream : 81 5.2.3 West Side Story: A Story about Generation Conflicts 85 5.2.4 West Side Story: A Love Story 92 5.2.5 West Side Story and Romeo and Juliet: Aspects of Intertextual ity 100 6. THEMES AND TOPICS OF THE AMERICAN MUSICAL IN THE 1960S 109 7. THEMES AND TOPICS OF THE AMERICAN MUSICAL IN THE ERA OF STEPHEN SONDHEIM Ill 7.1 THE AMERICAN MUSICAL IN THE 1970S AND 1980S 111 7.1.1 An Overview of Some Selected Musical from the 1970s and 1980s 111 7.1.2 Stephen Sondheim and his Musicals 113 XI 7.2 THEMES AND TOPICS IN SUNDAY IN THE PARK WITH GEORGE 117 7.2.1 Sunday in the Park with George: A Story about George Seurat 117 7.2.2 Sunday in the Park with George: A Story of Creation, Fall and Restoration 124 7.2.3 Sunday in the Park with George: A Story of Reception 139 7.2.4 Sunday in the Park with George: A Love Story 142 8. THE AMERICAN MUSICAL IN THE 1990S 151 9. CONCLUSION: THEMES AND TOPICS OF THE AMERICAN MUSICAL 155 10. APPENDIX A: AN OUTLINE CHRONOLOGY OF THE AMERICAN MUSICAL 159 11. APPENDIX B: THEMES AND TOPICS OF THE CANADIAN MUSICAL 163 12. BIBLIOGRAPHY 167 BIBLIOGRAPHY OF PRIMARY WORKS 167 BIBLIOGRAPHY OF USED AND READ SECONDARY WORKS 167 BY THE SAME AUTHOR 175.

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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
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SUBLIME PULITZER PRIZE-WINNING MUSICAL MUSIC & LYRICS BY BOOK BY STEPHEN JAMES SUNDAY IN THESONDHEIM LAPINE DIRECTED BY PETER PARK WITH GEORGEDUBOIS CURRICULUM GUIDE TABLE OF CONTENTS Standards 3 Guidelines for Attending the Theatre 4 Artists 5 Themes for Writing & Discussion 8 Mastery Assessment 10 For Further Exploration 12 Suggested Activities 15 © Huntington Theatre Company Boston, MA 02115 September 2016 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs Inquiries should be directed to: Donna Glick | Director of Education [email protected] This curriculum guide was prepared for the Huntington Theatre Company by: Marisa Jones | Education Associate with contributions by: Alex Smith | Manager of Curriculum & Instruction COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter. Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter. Reading Literature: Key Ideas and Details 1 Reading Literature: Craft and Structure 5 • Grade 8: Cite the textual evidence that most strongly supports • Grades 9-10: Analyze how an author’s choices concerning how an analysis of what the text says explicitly as well as inferences to structure a text, order events within it (e.g., parallel plots), and drawn from the text.
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WEST SIDE STORY.Pages
2015-2016 SEASON 2015-2016 SEASON Teacher Resource Guide ! and Lesson Plan Activities Featuring general information about our production along with some creative activities Tickets: thalian.org! !to help you make connections to your classroom curriculum before and after the show. ! 910-251-1788 ! The production and accompanying activities ! address North Carolina Essential Standards in Theatre or! Arts, Goal A.1: Analyze literary texts & performances. ! CAC box ofﬁce 910-341-7860 Look! for this symbol for other curriculum connections. West Side Story! ! Book by: Arthur Laurents Music by: Leonard Bernstein Lyrics by: Stephen Sondheim ! ! Based on Conception of: Jerome Robbins! Based on Shakespeare's Romeo and Juliet! October 9-11! and 16-18! ! 7:00 PM Thursday - Saturday! and 3:00PM Saturday & Sunday! Hannah Block Historic USO! / Community Arts Center! Second Street Stage 120 South 2nd Street (Corner of Orange) Resource! About this Teaching Resource! This Teaching Resource is designed to help build new partnerships that employ theatre and the Summery:! arts to address some of today’s pressing issues such as youth violence, bullying, gangs, ! interracial tensions, youth-police relations and cultural conﬂict. This guide provides a perfect ! ! opportunity to partner with law enforcement, schools, youth-based organizations, and community Page 2! groups to develop new approaches to gang prevention.! About the Creative Team, ! Summery of the Musical! About the Musical & Its Relevance for Today! ! Marking its 58th anniversary, West Side Story provides the backdrop to an exploration! Page 3! of youth gangs, youth-police relationships, prejudice and the romance of two young people caught Character & Story Parallels of in a violent cross-cultural struggle.The electrifying music of Leonard Bernstein and the prophetic West Side Story and lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was more than 58 Romeo & Juliet ! years ago.
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